The article analyses Miron Bialoszewki's late poetry (1976-1983) in the context of Oriental genres: lyrical haiku and satirical senryu. The author begins with the problems of zen poetry, then proceeds to discuss numerous but largely unfound proposals to link Bialoszewski's poetic output with haiku. Scrutinizing Bialoszewski's miniatures, Beata Sniecikowska takes into considerations the lucid sensual arrangements, the attitude of the lyrical 'I,' irony, gnomicity, and linguistic, graphic, and instrumentational conceptism. The points of reference of the analyses are Japanese haiku and senryu as well as haiku by Jack Kerouac - a figure also connected with Zen Buddhism. Sniecikowska concludes that in Bialoszewski's late literary creativity one finds a set of poems of close-to-haiku modality, however less rigorous and perceptibly deriving from avant-garde tradition. The researcher facetiously refers to them as 'mironu.'
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